Reprint of the original, first published in 1843.

Byron’s and Shelley’s experimentation with the possibilities and pitfalls of poetic heroism unites their work. The Poet-Hero in the Work of Byron and Shelley traces the evolution of the poet-hero in the work of both poets, revealing that the struggle to find words adequate to the poet’s imaginative vision and historical circumstance is their central poetic achievement. Madeleine Callaghan explores the different types of poetic heroism that evolve in Byron’s and Shelley’s poetry and drama. Both poets experiment with, challenge and embrace a variety of poetic forms and genres, and this book discusses such generic exploration in the light of their developing versions of the poet-hero. The heroism of the poet, as an idea, an ideal and an illusion, undergoes many different incarnations and definitions as both poets shape distinctive and changing conceptions of the hero throughout their careers.

Bloomfield and Dunn describe the varying roles which "poets" have historically filled within society, whether ancient, medieval, or pre-modern and identify the key functions of the poet figure. He (or sometimes she) supports the ruler and is in turn rewarded for a central service to the tribe; he exercises his authority by an apparently magical understanding of the past, present, and future; and, whenever called upon to perform an official rite, he knows how to wield the appropriate traditional, esoteric utterances. In order to illustrate the ways in which this kind of poetic function can be seen to have been exercised in early Irish literature, pre-modern Scottish Gaelic, early Welsh, early Norse and Old English the authors draw on a wide-range of texts. The study concludes with an examination of the implications of their findings for twentieth century readers exploring the utterances of poets remote from them in time or space.

Madness and the Romantic Poet examines the longstanding and enduringly popular idea that poetry is connected to madness and mental illness. The idea goes back to classical antiquity, but it was given new life at the turn of the nineteenth century. The book offers a new and much more complete history of its development than has previously been attempted, alongside important associated ideas about individual genius, creativity, the emotions, rationality, and the mind in extreme states or disorder - ideas that have been pervasive in modern popular culture. More specifically, the book tells the story of the initial growth and wider dissemination of the idea of the 'Romantic mad poet' in the nineteenth century, how (and why) this idea became so popular, and how it interacted with the very different fortunes in reception and reputation of Romantic poets, their poetry, and attacks on or defences of Romanticism as a cultural trend generally - again leaving a popular legacy that endured into the twentieth century. Material covered includes nineteenth-century journalism, early literary criticism, biography, medical and psychiatric literature, and poetry. A wide range of scientific (and pseudoscientific) thinkers are discussed alongside major Romantic authors, including Wordsworth, Coleridge, Blake, Hazlitt, Lamb, Percy Bysshe Shelley, Keats, Byron, and John Clare. Using this array of sources and figures, the book asks: was the Romantic mad genius just a sentimental stereotype or a romantic myth? Or does its long popularity tell us something serious about Romanticism and the role it has played, or has been given, in modern culture?

Based in part on archival materials, Russian Poet/Soviet Jew examines the short and brilliant career of Eduard Bagritskii (1895-1934), a major Russian poet of Jewish origin. Shrayer provides a short biography, an examination of the problems of Jewish identity and Jewish self-hatred, and interviews with contemporary leaders of Russian ultra-nationalism to explore Bagritskii's Russian/Jewish dual identity. The book also includes the first English-language translations of Bagritskii's major works, along with rare archival photographs documenting the trajectory of his life and career.

The Christian gospel, says Brueggemann, is too easily preached and heard. Too often technical reason and excessive religious certitude reduce the gospel to coercive, debilitating pietisms that mask the text's meaning and freeze the hearers heart. With skill and imagination, Brueggemann demonstrates how the preacher can engage in daring speech?differently voiced and therefore differently heard. This speech, as suggested by the Bible itself, is "poetic" speech, enabling the preacher to forge communion in the midst of alienation, bring healing out of guilt, and empower the hearer for "missional imagination." As an alternative to theological/homiletical discourse that is moralistic, pietistic or scholastic, Brueggemann proposes preaching that is artistic, poetic, and dramatic. The basis for the 1989 Lyman Beecher Lectures at Yale Divinity School, Finally Comes the Poet is a unique and transforming guide for powerful preaching.